tierra whack pretty ugly – Rapper Tierra Whack Talks Bright Colours, Prince And Tokyo’s Futuristic Style

The stunt certainly helped her profile, but it’s Tierra Whack’s music which has lasted longer than the initial dopamine hit. She still picks up weekend shifts as a door person at an upscale condominium.

tierra whack only child – Tierra Whack Lollapalooza

TIERRA WHACKTierra Whack’s Whack World is worth every second of your time. In her childhood, Tierra had an obsessive inclination towards poetry and performance, turning her rhymes into raps under the moniker Dizzle Dizz. In high school, she and her crew petitioned their strict principal to allow them to perform a couple of songs from Sister Act 2 at a talent show. Tierra performed the famous Joyful, Joyful” rap verse, naturally – and they won.

Tierra Whack is a Philadelphia native whose theatrical, undeniably unique take on contemporary rap and R&B has received widespread acclaim. Last year’s Whack World” was spastic, dryly funny, and a snap: It’s only 15 minutes long.

Whack started releasing music on SoundCloud in 2015, after coming back to Philadelphia. On those songs, Whack began playing around with her artistic voice. Soon, she was singing as much as she was rapping, and she was trying on new voices or running her voice backwards. She was rapping over airy, hazy, art-damaged beats. Last year, she had a minor viral hit with her Mumbo Jumbo” video, a colorful surreal nightmare about an appointment with a dentist from hell. The whole time, she was working as a doorwoman at a Philly apartment building. And then came Whack World.

As I spoke to the Whack World visionary , I quickly realized that, much like her music and tweets, her answers to questions were quick and concise. The full extent of how entertaining this interview was may not translate all the way in print but it was an unforgettable experience and in the interest of authenticity, here is the full, unedited convo with Tierra Whack.

We’ve known that Tierra Whack is a star for a while now. Since Whack World dropped last year, more and more artists have been co-signing Whack and spreading the Whack Gospel. Now, the one and only Beyoncé has given Whack her stamp of approval. The eccentric Philly rapper is set to feature on The Lion King: The Gift, Beyoncé’s upcoming album inspired by the Lion King. The Beyoncé-curated and produced album will be released this Friday, July 19th. In addition to Whack, the album also features Kendrick Lamar, JAY-Z, Childish Gambino, 070 Shake, Burna Boy, WizKid, and more.


Fellow Philly royalty Meek Mill heralded Whack as the best female rapper in the world” in July and teenage sensation Billie Eilish hailed her as a god” during a conversation with NPR at ACL Fest’s new podcast stage Bonus Tracks. Though the Grammy-nominated rapper failed to live up to her lofty billing, she put up an earnest fight in sweltering conditions. In the spirit of Whack World’s nightmarish, cinematic visuals, various colored depictions of Tierra Whack’s rotating head served as a stage backdrop.

The Cat Solen-directed video certainly captures the spirited quirkiness of Tierra Whack’s work. In the clip, Tierra plays a chef whose specialty is apparently potatoes and all potato-related dishes, which is unfortunate for one sentient potato caught in the pack. And she’s making all these potato meals for a giant potato to consume because of course she would be. Stay weird, Tierra Whack. Watch the video for Unemployed” below.

Most pop stars keep their fans at arm’s length, occasionally deigning to an awkward meet-and-greet but otherwise maintaining a distance. Philadelphia rapper Tierra Whack , on the other hand, has dressed up as a wordsearch at this sold-out London gig, and has invited members of the audience to find words on her using a marker pen, having spun them around to make them dizzy. This follows the outfit she posted on Instagram earlier in the day: an oversized custom Rugrats sweater featuring giant drooping hands at the ends of the sleeves. An upturned Whack-branded van lies outside the venue, potatoes spilling out of it in an enigmatic tableau.

After filling composition books with rhymes, an uncle urged her to put her spoken word to beats, beginning with a freestyle over the local hero Meek Mill’s In My Bag.” So began Ms. Whack’s career as Dizzle Dizz, a million-syllable-a-minute freestyle rapper in her city’s tradition of quick-tongued M.C.s. But despite earning an audience with figures like Meek and ASAP Rocky, who told Ms. Whack she had that Kendrick flow,” she didn’t form an artistic identity until a move to Atlanta near the end of high school.

Visually, Whack World is a hell of a thing. It’s bright and jagged and ridiculous, full of images that bounce around in your head for a while. Whack, in what appears to be a Missy Elliott mask, illustrates her own lyrics through elaborate nail art. Whack, in absolutely crazy makeup that makes half of her face look grotesquely swollen, raps deadpan into the camera as insects buzz around. Whack shaves crazy patterns into a stuffed dog and leaves it looking like a piece of art. That’s the first three songs. Elsewhere, we get a bedazzled casket, a graveyard full of ghost-dog puppets, a tiny house with a giant Tierra Whack trapped in it.

One thing you could do, instead of convincing yourself to like or ignore the new 23-minute Kanye West album , is get familiar with Philadelphia newcomer Tierra Whack. You won’t regret it, and it’ll take even less of your time. Her debut album—a visual auditory project” called Whack World—is 15 tracks, and just 15 minutes long.

Whack’s video for her album Whack World combined 15 different music video snippets — each lasting a minute long. Rising rap star Tierra Whack has released a steady stream of new music this year, including the eccentrically venomous Only Child ” and the verbose Unemployed,” which received a video today.

Whack World by Tierra Whack. Like in the video for “Bug’s Life,” when Tierra pulls back her hoodie to reveal a grotesque, half-swollen face. Tierra Whack first appeared on the scene at age 15, when she did an impromptu freestyle for one of Philly’s underground rap collectives.

Whack’s “Whack World”, just 15 minutes long, ran together 15 one-minute songs and debuted alongside a 15-minute music video, easily one of the loudest and most defining opening statements from a new artist this decade.

I just think I took the rawness and the realness. Because when I was younger, I had to be around a lot of gangsters and thugs. And with rapping, I had to be around a lot of guys all the time, and the top tier of the battle rappers. And they always respected me, because like, yeah, I was “weird,” but I was me. They could tell it wasn’t forced. I think it’s just about being yourself. I’m being me and doing what makes sense to me, and then I got respect.

Tierra Whack can’t help what goes on in her head, and she’s fine with that. The North Philly rapper is lounging on a hotel bed while the Disney cartoon PJ Masks plays on TV, and she apologizes for taking a long time to answer a question because she’s distracted by an especially nice-looking skyscraper peeking through an adjacent window. Along with all of the largely self-induced overstimulation in the room, she admits her mind is running regardless.

Each track, as you likely guessed, is exactly one minute, with the album playing out like a shuffle of glorious hooks that end entirely too soon. I’ve often said that a great short song leaves you satisfied but wanting more—and frustratingly enough, Whack World does that with every single song. There are hooks that would make Frank Ocean jealous and raps that have actually made A$AP Rocky compare her to Kendrick.


It’s hard to compare Tierra Whack to anyone. In terms of ability to flow and aesthetic, Missy Elliott comes to mind. Hype continues to build for the MC whose 2018 debut Whack World made waves as a 15-song, 15-minute visual album.

Tierra Whack isn’t just a mastermind of pre-recorded music that can overwhelm you with intensely artistic visuals (see last year’s Whack World ). She can also mesmerize in spur-of-the-moment doses. Look no further than her recent freestyle on TimWestwoodTV in which she strips the theatrics away to the bare bones for a visceral dose of her lyrical capabilities. You’ll need a fan to cool off after this one.

Her viral moment marked a huge turning point. Not long before that point, she describes herself as a shy child. Growing up, Whack adored Dr. Seuss, and spent as much time as she could getting lost in the world of Matilda and Barney and Friends. She grows animated when she talks about these shows. As a kid I wanted to be as close as I could to the TV, I don’t know what it was but I just gravitated towards certain things.” Cartoons are a huge part of Whack’s artistry. After years of absorbing these fantastical worlds, she’s now highly adept at creating her own. During the cover shoot, she crawls around the floor contorting her face from an unnervingly wide-eyed smile to a bitter screwface. Inspired by years of watching children’s TV and refusing to ever give it up in adulthood, Whack embodies different characters with a natural tenacity.

Tierra Whack: I don’t really care. WondaGurl deserves to be rich for the rest of her life just for figuring out that you could use a Stranglers sample on a trap song and that it would sound cool. Ever the people’s champ, Tierra Whack closed her set by giving a fan her Nikes—and telling us to stay hydrated.

Whack was named Webby Artist of the Year for her ingenious use of the Internet to create experimental, genre-bending, and imaginative art — most notably with her debut album ‘Whack World,’ ” according to the Webby website.

Tierra Whack: I guess. I just noticed that the other day, like yesterday literally. I just was like Oh, that song’s kinda short. But I just like short and sweet things. It’s just the way everything is now. You gotta get to the point. Like, some songs I listen to, like Kanye West’s 30 Hours.” It’s called 30 Hours” and I’d like to just put it on repeat and just drive to it, and just keep going. I don’t want it to ever end.

Tierra Whack, shown here performing in California, exploded onto the scene in 2018, and had such a profound impact that Pitchfork named her debut album “Whack World” the 38th-best album of the decade.

Whack’s car wash experience may be an abbreviated scene in her life, but over the course of Whack World she hits the same discordant notes, those exaggerated highs and lows, that make Car Wash’s zany plot a classic day-in-the-life character study in black surrealism: She’s Franklin Ajaye’s afro-clad superhero The Fly, fighting to win back the love he lost. She’s Antonio Fargas’ cross-dressing wildcard Lindy, commanding respect in a world that refuses to recognize her identity. She’s Bill Duke’s world-weary black Muslim, so hard-up for the revolution that he’s ready to risk it all. She’s Richard Pryor’s televangelist pimp Daddy Rich, playing on all our emotions, and the streetwalker Marleen, trying to get over the trick who stole her heart. She’s the two Sam-and-Dave wannabes, Floyd and Lloyd, turning the day gig into a nonstop audition while praying for that big break.

Tierra Whack: Dog treats everywhere. Just like … dog treats. Dog World. With her debut album, Tierra Whack crafted her very own audiovisual fantasyland. For the Philadelphia rapper, innovation is simply a way to stave off boredom.

From inspiration to execution, Tierra has racked up some serious accolades, especially after “Whack World.” She got a Best Music Video nod at the Grammys for the visuals to “Mumbo Jumbo.” And now she’s fresh off landing a coveted spot in the XXL Freshman Class. Pitchfork put “Whack World” at No. 9 on their list of the 50 best albums of 2018. Billboard put it on their “Critics’ Picks” list of the 100 greatest music videos in the 21st century.

Old-school car washes like the one on Ponce are designed to feel like existential carnival rides for customers who want the thrill of a cathartic purge without ever having to get their hands wet. The 20-year-old landmark is on its second life since being swallowed up by the national Mister Car Wash chain around 2012, the same summer Whack worked there. The street has undergone its own dramatic makeover since the late ’90s, from eccentric cultural crossroads to something resembling a gentrified gateway today. I used to get my car washed there all the time back when it was still called Cactus. A huge, green, cartoonish cactus sign stood out front, like some kind of desert oasis, beckoning a never-ending stream of automobiles that spilled onto the main street all day on the weekends. Sometimes it felt like the most desegregated corner lot in all of Atlanta. From soccer moms in minivans to rap stars pushing Maseratis, everybody pulled up.

The throughline of the album is Whack’s focus on reaching success and the struggle to stay authentic in an industry that works against those who look like her. The industry does not pay attention to rappers like her, unless they’re light skin and overtly sexual. For dark skinned women in hip-hop, their accomplishments are always erased, their own sexuality either ignored or deemed unacceptable. For example, many praise Missy Elliott’s futuristic music videos but downplay the sexual themes in her work.

WHAT NOW? Reverting to her given name — yes, she was born Tierra Whack — the young rapper learned to combine the theatrical over-the-top-ness of her earliest outré obsessions (Busta Rhymes, Eminem, Missy Elliott, Outkast) with the grounding essence of her guiding light, Lauryn Hill.

Tierra Whack is 5ft 6in tall and she’s of African-American descent. Her net worth is estimated at $400 thousand USD. She worked as a doorwoman in Philly to help fund her career. Whack cites Lauryn Hill as one of her favorite artists. She’s also a big fan of OutKast, Missy Elliott, Andre 3000 and Busta Rhymes.

Though it’s fashionable to ascribe all sorts of magical properties to black girls nowadays, Whack World is a product of playful invention. The idea of work — coupled with the historic devaluation of black women’s labor in this country — permeates the backstory behind Whack’s creative evolution. It’s easy to be wowed by her nonstop oddity; the harder part is acknowledging the foresight of an artist who defies easy categorization. Her brief but stunning debut isn’t the only thing being grossly overlooked. It shouldn’t be lost on anyone that the same drive she applied to make a gambit out of grinding at a car wash propelled Whack to step up in an industry notoriously wack at recognizing next-level talent.

The music video itself is a mirage of colorful sets, diverse hairstyles, and pop culture influences. Throughout the video, she alters her voice —11 different times— and adopts different vocal styles. Whack’s strengths lie in her ability to morph into different personas while still maintaining her sarcastic tone, making her one of the most versatile rappers in hip-hop.

Back in 2011, Whack was standing on a corner in Philadelphia wearing a pink collared sweater declaring she’s, “on top near Lauryn’s Hill.” In a video posted by YouTube channel “We Run the Streets,” she kicks into high gear, launching into her fast-paced flow without needing a beat at all. She announces she’s destined to become a rap star after growing up poor, but wants to leave behind some aspects of the hood, saying, “I used to rap about gats … but now I’m off of that.” Instead, she hits onlookers with Dexter’s Laboratory references, and still slays the corner cypher.


As Whack’s DJ tried to warm up the crowd at the start of the set, his whole setup began to overheat and caused all of the hype-up tracks not to play correctly. The stage crew remedied this situation by bringing out a large fan and pointing it directly at the equipment.

Though Whack World may seem fantastical, every song and visual has some concrete anchor in Tierra’s own reality. Billboard spoke with Whack as she dove into the inspiration behind Whack World, eating chicken wings with Andre 3000, and why she would love to record an album in Tokyo.

The 2010s saw Philly’s music scene balloon in all direction, so it’s no surprise that online music magazine and cultural tastemaker Pitchfork’s list of the 200 best albums from the decade features plenty of Philly flavor.

Whack started releasing music on SoundCloud in 2015, after coming back to Philadelphia. On those songs, Whack began playing around with her artistic voice. Soon, she was singing as much as she was rapping, and she was trying on new voices or running her voice backwards. She was rapping over airy, hazy, art-damaged beats. Last year, she had a minor viral hit with her Mumbo Jumbo” video, a colorful surreal nightmare about an appointment with a dentist from hell. The whole time, she was working as a doorwoman at a Philly apartment building. And then came Whack World.

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